Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
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Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox. The latter is further characterized by Gestalt operations and ‘structural’ decisions that are based solely on one’s real-time perception of a piece. The primary purpose of this paper is to investigate listening strategies for pieces in which the schema toolbox is not yet “well-defined” (as in Gjerdingen and Byros). Thus, the current proposal establishes a strategy that would uncover such a toolbox for 19th-century repertory, employing the 18th-century categories as an initial lens for this discovery. Ultimately, listening must not only follow a script-based approach, in which a schema will be activated during online listening, but also a transformational approach, in which learned schemas will be altered and adapted to fit a new model. The transformations may include, but are not limited to: contour alterations, reharmonizations, expansions, and truncations. The transformational mechanism relies on a network of learned schemata through an ‘idealized’ galant listener; each schema has a well-defined identity but is related to others through equivalence classes (favoring melodic, harmony, etc.). Once the listener forms these classes, he will then use transformations to accommodate the change in style by expanding the lexicon, thereby establishing a new context for interpretation of Romantic works. In summary, the listening strategy is inverted—rather than starting with a schemata toolbox (top-down), one has to build one from scratch (bottom-up) in order to generate new categories. 5 A Teppo Ahonen Session 9A University of Helsinki [email protected] Teppo E. Ahonen received his MSc degree in computer science from University of Helsinki in 2008. Currently, he is writing his PhD thesis on measuring similarity between tonal features of audio signals using metrics based on estimating the mutual information shared by the objects. His research interests include music feature representations, string processing techniques, version identification, graphical models, information theory, data compression, and computational musicology. Intelligent Digital Music Score Book: CATNIP (with Janne Lahti, Kjell Lemström & Simo Linkola) We have developed a digital, intelligent music score book on tablet computers, called CATNIP, to fulfil the need for advanced applications for music professionals. CATNIP has a built-in access to the open and huge Petrucci sheet music library with an intuitive search functionality. The selected scores can be locally saved together with optional personal remarks to the score. CATNIP allows the musicians to synchronize several devices so that one device masters the others to always show an associated view on their device; this view may differ from the master’s one. To enhance the user experience, we have a built-in Spotify interface for related audio playback. Moreover, we are working on including automatic synchronization in the application. 6 Duilio D’ Alfonso Session K A Conservatorio “O. Respighi” Latina [email protected] Duilio D’Alfonso took his degree in Piano and in Composition at the Conservatory of L’Aquila. Then he graduated in Philosophy at Rome University “La Sapienza” and he obtained his PhD in Philosophy of Language at the University of Palermo. Now he teaches Harmony and Analysis at the Conservatory of Latina. Unifying Schenker and Riemann In the Schenkerian framework, harmonic progressions, at different hierarchical levels, are essentially interpreted according to the principles of functional monotonality: excluding prolongational events, each harmonic progression completing a fundamental I-V-I structure gives raise to a structural cadence. Namely, Schenkerian theory gives an account for the cadential, functional relations between chords at different structural levels of a tonal piece. Differently, in the neo- riemannian perspective, inspired by Hugo Riemann’s theory of harmony and developed in the last decades by scholars such as David Levin, Richard Cohn and others, the so-called transformations are intended to explain harmonic progressions, mainly at the large-scale tonal plan of a piece, not reducible in terms of functional relations, but inspired by a principle of ‘parsimony’ in the voice-leading. In this paper, I intend to argue for an analytic approach unifying these two traditions. Actually, the possibility of integrating them in a unique theoretic and analytic perspective is somewhat latent, and my purpose is to make this potentiality explicit. I will show some graphical examples, derived from scores by Mozart (Concert K. 622), Beethoven (Sonatas Op. 53, 57, 106 and Symphony Nos. 7 and 9) and Brahms (Quintet Op. 34 and Symphony No. 4), in which large-scale key progressions seem to be governed by the logic of transformations, encoded by neo-riemannian theory. These key progressions are in some sense nested in the skeleton of Schenkerian deep structural patterns, showing how, in structurally relevant positions, the logic of functional relations is prevailing. Summarizing, the aim of my talk is to suggest that Schenkerian and neo-riemannian theories can be thought of as complementary analytic methods, formally capturing two different structural aspects of tonal harmony and its formal function, aspects playing a crucial role in the syntactic cohesion of tonal music. 7 A Imina Aliyeva Session 6C Baku U. Hajibayli Academy of Music [email protected] Dr. Imina Aliyeva (Baku U. Hajibayli Academy of Music) is a piano teacher and a member of the Union of Azerbaijan Composers (section: Musical Theory). She graduated from the Department of Automation of Industrial Processes of the Azerbaijan Oil and Chemistry Institute and simultaneously the Azerbaijan State Conservatory in Piano. Aliyeva is the author of A Practical Guide for Studying Azerbaijani Modes and Developing Modal Hearing as well as of a large number of publications in which issues of zone theory, theory of modes, cognitive musicology, problems of ear training, IT application in musical education, methodology of piano teaching are examined. Azerbaijani Modes: Their Evolution and Manifestation in Traditional and European Genres (Cognitive Approach) The topic of this report is the evolution of Azerbaijani modes and their contemporary existence. Azerbaijani modes are considered as schemata that function in the genres of traditional music and composer’s works. The author compares intervals of Azerbaijani modes with Nikolai Garbuzov’s pitch zones and finds that all the intervals of Azerbaijani modes, including specific mugham intervals, are covered by the zones. This led the author to the conclusion that the 12-tone equal temperament and European notation play the role of an abstraction for Azerbaijani modes just as they do for the other pitch systems and musical phenomena. In fact, the 12-tone equal temperament does not preclude the top-level frames of the Azerbaijani modes. The author proposes to classify the Azerbaijani modes on the basis of their intonational recognition, namely as a phenomenon of auditory perception, when the mode is viewed as the acoustic absolute, which can easily be intonationally distinguished, and differentiated from other modes. To date, the main Azerbaijani modes (rast, shur, segah, shushter, chahargah, bayati-shiraz, humayun) show themselves in two categories: in mughams as modal structures that keep 17-step scale inherent to Azerbaijani traditional music (‘micro- intonational schemata’) and in the composers’ works with the scales corresponding to 12-tone equal temperament (‘macro-intonational schemata’). The spectrum of their existence and manifestation in all common European genres, embracing different states, includes the full modal structures (the most approximated to traditional music – mugham). These structures can be related to the harmonic